- 36
Piero Manzoni
Estimate
100,000 - 150,000 EUR
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Description
- Piero Manzoni
- Achrome
- firmato sul retro
- pacco, carta da pacco, ceralacca e spago su tela
- cm 40x53
- Eseguito nel 1961
Provenance
Collezione privata, Como
Ivi acquistato dall'attuale proprietario
Ivi acquistato dall'attuale proprietario
Literature
Freddy Battino, Luca Palazzoli, Piero Manzoni catalogue raisonnè, Milano 1991, n. 1015, p. 452, illustrato
Germano Celant, Piero Manzoni. Catalogo generale. Tomo secondo, Milano 2004, n. 1095, illustrato
Germano Celant, Piero Manzoni. Catalogo generale. Tomo secondo, Milano 2004, n. 1095, illustrato
Condition
This work appears to be in generally good overall condition. The light yellowing, mostly around the sealing-wax, and the traces of folds on the paper of package are coherent to the artist's choice of media and with his working method. There are some minor scattered traces of dirt on the canvas. No traces of retouching appear to be visible under UV light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
"Manzoni ci chiamò chiedendo se potevamo vederci: voleva mostrarci un suo nuovo lavoro. Stavamo attraversando un periodo di intensa creatività, alla ricerca costante di soluzioni che ci aiutassero a superare i problemi che incombevano sulla questione relativa al figurativo e all’informale, privilegiando il concetto di “espressione” rispetto a quello di “costruzione. L’arta astratta sembrava essersi esaurita. Ci incontrammo al Giamaica e andammo tutti insieme al suo studio dove il nuovo lavoro che eravamo invitati a vedere era un pacco: per un momento restammo senza parole, ognuno intento a elaborare le proprie considerazioni; ma alla fine l’entusiasmo di Manzoni ci convinse tutti".
"Manzoni called us, asking if we could go to see him: he wanted to show us something he had made. We were in a period of intense creativity, constantly searching for solutions to overcome the influences of a dragging situation between figuration and informel, by privileging the 'expression' on the 'construction'. Abstract Art seemed to have exhausted what it had to say. We met up at the 'Giamaica' and went immediately to the studio, where the 'thing' which we were meant to see turned out to be a package: we were left speechless for a while, each of us elaborating his own considerations; finally Manzoni's enthusiasm convinced us as well."
Agostino Bonalumi
"Manzoni called us, asking if we could go to see him: he wanted to show us something he had made. We were in a period of intense creativity, constantly searching for solutions to overcome the influences of a dragging situation between figuration and informel, by privileging the 'expression' on the 'construction'. Abstract Art seemed to have exhausted what it had to say. We met up at the 'Giamaica' and went immediately to the studio, where the 'thing' which we were meant to see turned out to be a package: we were left speechless for a while, each of us elaborating his own considerations; finally Manzoni's enthusiasm convinced us as well."
Agostino Bonalumi